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ARCHITECTURE  AND  APPLIED  ARTS 

IN  OLD  SPAIN 


OLD  SPAIN 


By   AUGUST   L,  MAyER,   PH.   D 

PROFESSOR  AT  THE  UNIVERSITY  OF  MUNICH 

CORRESPONDING  MEMBER  OF  THE  REAL  ACADEMIA 

DE  BELLAS  ARTES  DE  S.  FERNANDO  IN  MADRID 

OF  THE  REAL  ACADEMIA  DE  BUENAS  LETRAS  IN  SEVILLA 

AND  OF  THE  HISPANIC  SOCIETY  OF  AMERICA 

IN  NEW  YORK 


WITH 3Jo  ILLUSTRATIONS 


J  •  » 


44602 


NEW  yORK   /    BRENTANO'S   /    MCMXXI 


c      c   c  J 
c   c   c 


«       e  •' 


PRINTED   By    E.  HABERLAND,  LEIPZIG   (GERMANY) 


R         E         F        A         C         E 


The   richntss   of  Spain  in  significant  architectural  monuments,  in  characterful  and 
characteristic  old  townsites,  as  well  as  conspicuous  products  of  the  applied  arts, 
is  today  still  overwhelming  in  spite  of  the  considerable  vandalisms  of  the  Napoleonic 
^1  wars  and  in  spite  of  the  modernization  craze  of  the  nineteenth  century. 

To  make  a  choice  that  will  illustrate  the  various  types  in  every  branch  of  the  wide  fields  of 
applied  arts  and  architecture  is  exceedingly  difficult.    On  the  one  hand  is  the  simply  immea= 
surable  plethora  of  materials,  on  the  other  the  lack  of  good  photographic  e.xamples  of  important 
,^    objects  scarcely  known  outside  of  the  narrowest  professional  circles. 

'"  It  is  to  be  noted  that  the  procuring  of  materials  during  these  present  troubled  times  was 
difficult.  The  Association  of  Friends  of  Art  in  Madrid  <Sociedad  de  los  Amigos  del  Arte) 
as  well  as  the  Institut  d'Estudis  Catalans  in  Barcelona  deserve  great  thanks  for  their  ener= 
getic  activity  in  making  important  materials  available,  not  only  by  instituting  exhibitions, 
but  also  by  the  turning  out  of  numerous  photographs  and  model  catalogues. 
C  Of  all  this  the  editor  has  made  most  bountiful  use,  and  is  under  the  greatest  obligations  to  these 
^  associations,  as  well  as  to  the  Director  of  the  Repertorio  Iconografico  de  Espafia, 

^  Photographer  Mas,  ).  Roig,  formerly  of  Lacoste,  Moreno,  and  the  In= 

stitution  Hauser  y  Menet,  and  last  but  not  least,  to  the  collec= 
tors  who  have  assisted  him  in  a  large  measure  through 
the  loan,  and  often  special  reproduction, 
of  photographic  copies. 


MADRID,  OCTOBER  27,  1920*  AUGUST   L.  MAyER 


CONTENTS 

Preface Page  V 

Moorish  Art   Page  IX  Plates      1-14 

City  Sites  and  Castles   Page  X  Plates    15-32 

Churches Page  XI  Plates    33-61 

Buildings Page  XII  Plates    62-106 

Furniture Page  XIV  Plates  107-  125 

Wrought  Iron  Work    Page  XIV  Plates  126-141 

Precious  Metals  ! Page  XVI  Plates  162-164 

Leather   Page  XVI  Plates  155-158 

Carpets   Page  XVI  Plates  166-168 

Stuffs   Page  XVI  Plates  168-174 

Ceramic  Art   Page  XVII  Plates  141-154 

Ivory  Page  XVIII  Plates  159-161 

Glass  Page  XIX  Plates  175-176 

Bibliography    Page  XX 

List  of  Illustrations  «;.:  Page  XXI 


Madrid,  Don  Jose  Weissberger.  Leather  Work.  XVII.  century 


The  special  charm  znipecufiarity  ofofdSpa= 
uisfj  art  lies  in  the  wedding  of  the  western, 
European  or  Christian  art  with  the  eastern, 
Asiatic^^African  or  Moorish,  and  this  is  especially 
true  of  its  architecture  and  applied  art. 
This  unique  interpcnetration  and  amalgamation,  this 
wedding,  in  which,  as  a  rule,  the  Moorish  element 
proved  the  stronger,  not  only  produced  in  the  Gothic 
period  the  so=called  Mudcjar  style*),  but  the  in= 
fluence  and  effect  of  the  Moorish  style  showed 
itself  far  into  those  periods  in  which  Spanish 
art  had  impressed  a  special  national  stamp  upon 
European  style.  For  instance,  in  the  period  of  the 
early  Renaissance  <first  half  of  the  l^""  century) 
there  developed  the  Plateresque  or  silversmith 
manner.  It  was  so  called  because  it  strongly  sug^ 
gested  the  applied  art  style  and  because  the  simila= 

*)  Mudejar  is  derived  from  the  Arabic  "mudefalat"  suB- 
mitted,  and  the  Mudejar  style  means  the  style  of  the  politi- 
cally but  spiritually  unconquered  Moor. 


rity  to  costly  silversmith  work,  with  its  use  of  small 
decorative  forms  instead  of  great  monumental  ones, 
is  very  close.  In  this  period  there  came  also  the  Spanish 
late  and  high  Baroque  <about  1650),  which  was  called 
the  Churriguera  style  after  its  originator,  Chur= 
riguera  of  Salamanca.  After  these  two  styles,  with 
their  lu.xuriantly  flourishing  decorations,  there  soon 
followed,  as  a  reaction  and  in  sharp  characteristic 
cally  Spanish  contrast,  styles  which  were  simple 
in  the  highest  degree.  In  the  second  half  of  the 
16'''  century  came  the  estilo  desornamentado, 
that  is,  the  severe  ornamentless  style  of  Herrera, 
and  in  the  18'''  century,  classicism. 
Foreign  artists  have  worked  in  Spain  at  all  times 
and  in  all  branches,  but  most  of  them  have  sub-- 
mitted  themselves  to  the  charm  of  the  country  and 
adapted  their  style  not  only  to  the  peculiar  climatic 
conditions  (particularly  to  the  relation  of  light  and 
shade),  but  indeed  to  the  whole  atmosphere  which 
they  found  there.   This  was  the  easier  for  men  from 


VIII 


the  northern  countries,  as  certain  elements  which 
are  today  generally  indicated  as  Gothic  are  met 
again  in  Moorish  art  and  belong  to  the  essentials 
of  the  Spanish  building  and  decorative  arts,  i.  e., 
freedom  and  breadth  in  place  of  regularity  —  a  play 
with  the  constructive.  We  find  the  demateriali= 
zation  of  everything  useful  into  the  transcendental 
pi.i-'i.  u  in  the  Alhambra  as  well  as  in  the  Baroque  sacristy 
of  Cartuja  of  Granada.  The  extraordinarily  fan= 
tastic  conception  of  quantity  meets  us  in  the  forest 
Pf-  i-f  of  columns  in  the  Mosque  of  Cordoba,  as  well  as  in 
Pf-  -to  the  building  of  the  Escorial,  in  the  ornamentation  of 
the  Alhambra  halls,  in  the  Plateresque  churches 
and  palace  facades  and  in  the  buildings  of  the  Chur= 
rigueresque  style.  Everywhere  there  is  a  rhyth^ 
mical  sweep  of  space  to  which  Charles  Scheffler's 
comment  is  appropiate  when  he  says  of  northern 
Gothic  that  it  "glitters  like  a  million  facettes". 
The  only  difference  is  that,  in  the  south,  up  to  the 
time  of  the  Churrigueresque  style,  no  unsteady 
splendour  of  light  and  shade  is  to  be  found,  but 
everything  is  rhythmically  related.  But  of  prime  im= 
portance  is  the  fact  that  the  wall,  in  contrast  to  walls 
of  the  northern  style,  remains  always  recognizable 
as  a  closed  surface  even  though  its  material  gra= 
vity  is  not  accentuated,-  the  architect,  on  the  con= 
trary,  always  doing  his  utmost  to  give  it  the  lights 
ness  of  a  tent  wall.  The  rich  decoration  has  an  ex= 
ceedingly  delicate  appearance  and  is  always  set  up 
on  this  background,  while  the  plastic  form  has  the 
general  effect  of  being  pressed  flat.  Even  the  build= 
ings  of  the  Churrigueresque  style,  which  had  been 
developed  to  a  degree  before  unknown,  have,  in  spite 
of  the  severity  of  the  facette  work,  something  of  the 
tapestry^carpet  effect  possessed  by  the  Moorish  as 
well  as  the  Mudejar  and  Plateresque  wall  decorations. 
This  complete  covering  of  the  surfaces  with  pure 
ornamental  or  figured  plastic,  or  else  with  plastic 
consisting  of  these  two  elements,  is  exceedingly 
characteristic  of  Spanish  art.  It  springs  from  the 
Moorish  art=principle,  and  was,  till  late  in  the  Pla= 
teresque  period,  very  popular  for  facades,  chapel 
walls  and  the  construction  of  high  altars.  In  the 
Churrigueresque  period  a  large  carpet  was  hung 
up,  as  it  were,  only  on  a  certain  part  of  the  wall 
or  facade.  The  richness  of  decoration  concen= 
P^-i9  trated  itself  upon  the  portal  section,-  the  whole 
facade  up  to  the  gable  was  included  and,  in  har= 
mony  with  the  Retablo,  or  carved  altar  work,  re= 


ceived  a  specially  striking  construction  and  deco= 
ration. 

While  we  find  here  many  inner  and  outer  relations 
to  the  northern  art,  sudi  relations  are  not  lacking  as 
regards  the  Italian,  and  especially  the  Upper  Italian 
art.  Such  buildings  as  the  Certosa  of  Pavia  can  also 
be  designated  as  Plateresque.  The  effect  which 
Venice  produces  by  its  situation  on  the  water  (the 
self  evidence  of  the  manner  in  which  oriental 
ideas  could  be  taken  up  there)  is  shown  throughout 
all  Spain  because  of  the  peculiar  conditions  of  air 
and  light  which  produce  an  optical  illusion  quite 
impossible  in  other  parts  of  Europe.  This  tendency 
toward  the  flat  style  went  so  far  that  the  single 
ornamental  element  was  finally  formed  in  quite  a 
flat  manner  and  the  final  result  was  the  fret=saw 
laminated  style  of  Alonso  Cano  and  the  School  of 
Santiago. 

The ^ror (decoration)  had  characteristically  attain^ 
ed  its  completion  after  the  discovery  of  America, 
and  during  the  setting  in  of  the  strong  decline  of  the 
Spanish  world=power.  Perhaps  the  most  favourable 
place  for  the  study  of  Spanish  decoration  is  Sala= 
manca,  although  Burgos,  Toledo,  Granada,  Sevilla 
and,  last  but  not  least,  Zaragoza,  offer  plenty  of  im= 
portant  material.  In  the  decorative  motives  the 
Spanish  strong  sense  of  reality  is  revealed.  What 
has  not  been  used  here !  The  pilgrim's  flask,  the  p/.  oi 
cord  of  the  monks'  capoch,  ship=cables,  crowns,  but 
above  all,  the  coats-of=arms  which  have  nowhere 
enjoyed  greater  triumph  nor  been  so  generally  em= 
ployed  as  in  Spain. 

Two  things  emphatically  give  Spanish  decoration  its 
real  life;  light  and  colour.  The  geometrical  brick 
ornamentation  of  the  Mudejar,  the  blind  arcades 
and  tower  decorations,  the  plateresque  stringpieces 
of  the  stairway,  and  the  repeated  clear  linear  or- 
naments of  the  flat  style  receive  their  real  clearness 
from  the  light  plastic  form.  The  heavy  Baroque 
forms  are  relieved  of  their  oppressiveness,  not  only 
indirectly  through  their  flatness,  but  directly  through 
themanncrof  their  expression.And  then  the  colours! 
All  Moorish  constructions  and  the  entire  Moorish 
scheme  of  inner  decoration  are  built  up  on  the  harmo= 
ny  of  blue,  red  and  gold.  (Of  these,  of  course,  only 
miserable  remains  can  be  recognized  today.)  To  this 
colourfulness,  which  was  even  more  heightened  by 
the  variegated  walUtilings,  the  artists  of  the  Mu^ 
dcjar  style  and  even  those  of  the  Plateresque  held 


I 


PI.  I- 4 
7,loo-foJ, 


IX 


.<;^ 


y; 


Barcelona,  Museo.    Embroidery  in  Gold  and  Silver.  XV.  century 


fast.  After  the  colourlessness  of  the  Herrera  style, 
the  greatest  luxuriance  of  gold  and  colour  set 
in  again.  That  the  colouring  and  the  carpet^Iike 
character  of  the  decor  "vnxz  vigorously  emphasized 
from  the  early  periods  until  well  into  the  18'^  cen= 
tury  goes  without  saying. 


M' 


oorish  i7/v  delights  in  the  contrast  of  sim= 

pie  exterior  construction  with  the  greats 

est  richness  in  the  interior.  Without,  se^ 

elusion,  great  seriousness  and  the  utmost  simplicity,- 

within,  luxury  and  a  delicate  brightness.  In  the  AU 

pi.i-io  hambra  of  Granada  and  in  the  Mosque  of  Cordoba 

H  11.12.14,  splendid  examples  of  secular  as  well  as  ecclesiastical 

Moorish  art  are  still  conserved.    Of  the  style  and 

final  architectonic  idea  of  the  Alhambra,  Charles 

Osthaus  has  given  a  classical  estimate  in  his  "Outlines 

of  the  Development  of  Style".     In   the  Court  of 

/'/./,  2  Myrtles  as  well  as  in  the  whole  building  of  the  AU 

hambra  water  is  used  for  the  first  time  for  building 

purposes.    Courtyards  and  towers,   passages  and 

halls  are  constructed  in  striking  contrast  to  each 

other.  Elevation  as  opposed  to  flatness,  great  calm= 

*  ness<CourtofMyrtles>incontrastto  lurking,  graceful 

i'i.4,o.r  liveliness  (Court  of  Lions).  The  spaces  are  treated 

very  individually,-  the  corridors  are  flatly  roofed,  the 

halls  vaulted  with  cupolas,  the  walls  often  perforata 

ed,  so  that  they  may  be  compared  to  hanging  lace 

veils,  and  a  rhythm  of  light  is  provided  which  was 

not  outdone  later  on.    In  the  Alhambra,  as  in  the 

market  halls,  the  light  manner,  quite  in  the  spirit 

of  the  wooden  frame  building,  is  to  be  perceived. 

The  wails  of  the  Moorish  and  Mudcjar  buildings. 


PI  I. '. 


generally  more  massive  than  strong,  are  of  consider^ 

able  thickness,  the  fortresses  and  mosques  being  very 

often  built  of  quarried  stone  and  brick.    Still  more  p'-ioi 

popular,  however,  was  loam  and  unburnt  brick,  a 

material  which  has  proved  unexpectedly  durable. 

A  thick,  clay^like  earth,  to  which  lime  and  small 

stones  were  added  in  greater  or  smaller  quantities, 

according  as  a  greater  or  smaller  strength  and  con= 

sistency  were  desired,  was  also  employed.  To  make 

this  mixture  still  more  durable,  spongy  bullrushes, 

small  wood  splinters  and  twigs  of  trees  were  mixed 

in,  and  it  was  by  these  means  that  such  astonish^ 

ing    durability    was   attained   <Caveda>.      Wood 

was  an  important  constituent  of  the  Arabian  build=  pf.ioo.ioi 

ing.    The  rafters  of  the  interior  arches  of  galleries 

and  chambers,  the  edges  of  baths,  the  panelling  and 

vaulted  ceilings,  groined  roofs  ornamented  with  little 

carvings,  beams  and  the  interior  parts  were  all  inlaid 

with  wood.  The  third  important  material  was  gyp=  Pi.3.7.9 

sum,   which  served  as  a  binding  material  for  the 

masonry,  but  was  principally  used  for  decorative 

purposes.  From  this  material  were  formed  the  horse= 

shoe  and  pointed  arches,  as  well  as  their  archi  volts  and 

the  ornamented  wall  surfaces.  This  covering  of  the 

actual  construction  was  fastened  to  the  wall  by  iron 

nails  and  hooks,  or  by  cane  and  tufts  of  a  particu= 

larly  strong  grass.  The  fine  ornamental  work  of  the 

Alhambra,  like  that  of  the  Mudcjar  buildings  in  Sevilla 

and  Toledo,  consists  of  a  kind  of  superfine  stucco 

of  unheard  of  firmness  and  durability,  the  composition 

of  which  has  remained  a  secret  among  the  Moors. 

Through  their  predilection  for  the  light  and  dainty 

style,  we  find  early  in  Moorish  art  that  small  deco» 


X 


rative  forms  are  chosen  in  preference  tolarge  mon= 
umental  ones,  as  was  also  done  later  in  the  Plate= 
resque  style.  The  gratings  become  reed  work,  the 
large  frames  and  plates  are  replaced  by  small  ones, 
while  later  on,  instead  of  the  column,  the  balustrade 

Pi.g.io  is  chosen.  Instead  of  water-spouts  we  find  stalac= 
tites.  The  door  panels  are  cut  and  divided  into 
smaller  squares,  just  as  the  mosaic  predominates  in 

Pt.4,iox\\z  complicated  tiling=work  which  is  put  together 

out  of  small  pieces.  The  ridi  handwork  of  the  14'''  cen= 

Pi.ioo.ioi  tury  tiling  is  again  seen  in  the  woodwork  of  the  win= 

dow  gratings  and  in  the  perforated  ceilings.    But, 

above  all,  a  flourishing  vitality  is  displayed  in  the 

Pf-  4, 6. 7,  rich  arabesque  ornamentation  of  the  stucco  wall  cov= 
S,lo,l2       ,  -  ,  f     .  < .        . 

ermg.    Almost  as  contusmg  as  this  charmmg  ara- 

Pf.i3  besque  style  is  the  Moorish  town,  which,  with  its  nu= 

merous  ramifications  of  broad  and  narrow  streets,  its 

lanes  and  blind  alleys,  seems  indeed  to  be  but  a  gi= 

gantic  arabesque  itself. 

The  medieval  divisionofthe  towns  into  cities 
and  suburbs,  and  in  the  interior  again  a  di= 
vision  into  Christian,  Moorish  and  Jewish 
quarters,  can  be  easily  recognized  even  up  to  the  pre= 
sent  day  in  Toledo  and  Segovia,  e.xcept  that  the 
enclosure  of  single  quarters  by  walls  can  no  longer 
be  noticed.  The  limits  fixed  in  accordance  with  the 
different  businesses  and  trades  have  been  preserved 
in  most  Spanish  towns  up  to  the  present  day.  The 
streets  were  very  narrow,  not  only  in  the  south,  but 
Pi.31  also  frequently  in  the  north.  As  in  other  countries, 
they  were  rendered  still  narrower  by  the  fact  that 
the  wooden  houses  were  constructed  in  stories 
which  extended  over  the  street  and  had  wide  gables. 
Today,  on  the  other  hand,  a  general  tendency  to 
enlarge  the  streets,  as  in  European  cities,  is  to  be 
observed  not  only  in  the  north  of  Spain,  but  also 
in  the  south,  where  the  narrow  streets  (over  which,  as 
a  protection  from  the  heat,  cloths  are  stretdied)  are 
really  in  the  highest  degree  natural.  The  main  streets 
of  Barcelona  and  some  other  large  towns  already 
had  drainage  in  the  middle  ages.  Town  sites  fre^ 
quently  cover  an  area  out  of  all  proportion  to  ne= 
cessity.  This  comes  from  the  fact  that,  even  in  small 
towns,  numerous  churches,  chapels,  cloisters  and 
orphanages,  old  hospitals,  etc.,  not  only  take  up  con= 
siderable  space,  but  also  because  the  one^family 
house  has  always  been  highly  esteemed  in  Spain. 


Hilly  land  is  utilized  everywhere  in  the  most  skilful  Pt.i5,i6 
manner.  The  logical  issue  of  this  is  the  cave  dwellings 
still  frequently  seen  today. 

The  old  ramparts  and  gates  have  been,  for  the  Pf.2o-j^ 
most  part,  done  away  with.  Nevertheless,  numerous  " 
sites  have  been  preserved  in  their  completeness, 
especially  in  Castile.  The  Moorish  double  gate,  with 
its  originally  more  or  less  defective  passage  =  way, 
was  remodelled  in  the  16'''  century  into  a  splendid 
gate=way  always  richly  adorned  and  inclosed  by 
two  round  towers. 

The  main  square  of  the  Spanish  town  is  nol  pr.os.j,. 
only,  as  in  Italy,  "  the  best  room",  but  served  origin= 
ally  for  tournaments,  bullfights  and  a  court  of  in- 
tjiiisition.  The  townhall,  which  was  often  contained  Pt.3o.o^>' 
in  this  square,  has  also,  therefore,  a  public  hall  in  its 
upper  story.  This  is  the  so-called  Miradero,  or 
audience=room,  for  those  who  preside  at  certain 
festivities  and  for  their especialguests.  Thesurroimd- 
ing  houses  in  the  main  square  frequently  open  on 
the  ground  floor  into  arcades,  and  there  is  a  promen-  pr.2s. ,-; 
ade  where  one  can  go  about  conveniently  even  in 
bad  weather.  These  arcade  walks  are  also  often  to 
be  found  in  the  neighbouring  streets  of  this  square, 
even  in  their  remotest  parts.  Madrid  and  Salamanca 
possess  perhaps  the  finest  constructions.  A  highly 
characteristic  aspect  is  given  to  many  a  provincial 
town  through  the  individual  character  of  the  stately 
mansions  of  its  citizens. 

Castile  is  especially  blessed  with  castles  and  thus  pi.n-^o 
this  part  of  Spain  justly  deserves  its  reputation.  But 
in  the  south  as  in  the  west,  a  great  number  of  castles 
have  also  been  preserved.   We  also  know  of  large 
monasteries  and  convents  after  the  style  of  Poblet,  pi.20. 
which  bear  on  the  outside  a  strong  fortress-like  char- 
acter,- for  these  monasteries  also  contained  a  king's 
palace  and  the  tombs  of  rhe  monarchs,  as  did  the  Es- 
corial  later.    In  hilly  towns  like  Toledo,  Segovia  or  pt.n 
Arcos  de  la  Frontera,  the  castle  is,  of  course,  built 
on  the  highest  point  of  the  town  site. 

The  principal  church,  the  cathedra f,  rises  generally  pi.33-i( 
on  the  site  where  the  principal  mosque  and,  some 
time  earlier,  a  Roman  temple  stood.  The  plan  of  the 
mosque  can  frequently  be  recognized  through  that  of 
the  cathedral,especially  inSeville,  where,  for  instance, 
the  great  mosque  courtyard  as  well  as  the  "Pardon 
Gate"  leading  to  it  have  been  left  almost  untouched. 
The  style  of  the  Moorish  minarets  has  also  influen- 
ced the  shape  of  the  church  towers.  TheSevillian  42,43-4 


\ 


XI 


Toledo,  S.  Juan  de  la  Penitentia.  Early  Plateresque  Trellis.   Wrought  Iron.  Beginning  of  XVi.ceniur).  Detail 


Giralda  has  been  copied  by  many  Andalusian  church 
towers.  The  tower  of  St.  Catalina  in  Valencia, 
with  all  its  Baroque  forms,  intentionally  leaves  no 
doubt  that  it  was  erected  on  the  site  of  an  old  mina= 

Pf.33.43  ret.  The  cimborio,  or  central  tower,  is  characteristic 
of  quite  a  number  of  Spanish  cathedrals.  In  the 
northern  part  o^  Spain  it  has  the  function  of  ad= 
mittin^  more  light  to  the  interior. 
In  Andalusia  this  object  is,  of  course,  in  abeyance, 
for  in  this  sunflooded  region  the  emphasis  in  cathe= 
dral  and  church  is,  as  in  ancient  Greece,  rather 
on  twilight  and  gloom  with  their  atmosphere  of  pro- 
tection and  mysticism. 
/"/.voThe  design  of  many  Gothic  cathedrals  betrays  a 
strong  French  influence,  above  all  in  Castile  and 
Leon  (old  and  new  Castile).  In  these  mountainous 
countries,  cathedrals  and  churches  were  built  which, 
without  the  influence  of  the  great  masters  of  the  "He 
de  France",  would  have  been  impossible.  We  have 
only  to  turn  our  attention  to  the  elegant  Cathedral 
r'f.26  of  Leon,  <the  "Pulchra  Leonina"  which  strongly 
resembles  the  cathedrals  of  Rheims  and  Amiens),  to 

r>i.4'i,49  the  mighty  cathedral  of  Toledo,  and  to  the  Gothic 
parts  of  that  of  Avila.    In  the  east,  we  not  seldom 


find  a  transition  of  the  northern  Gothic  style  into  a 

width  and  spaciousness,  which  are  strongly  reminis= 

cent  of  the  Italian  Gothic. 

It  is  very  characteristic  of  the  conservative  character 

of  the  Spaniard  that,  at  a  time  when  the  Renaissance 

was  penetratingevery  where,  cathedrals  in  the  Gothic 

style,  like  those  of  Segovia  and  the  new  one  atSala= 

manca,  were  founded  and  built.  However,  it  could, 

of  course,  not  be  avoided  that  the  Renaissance  ele=  Pi.35 

ments  joined  those  of  the  Gothic.    This  gave  to  the 

transition  style,  whidi  may  be  designated  as  that  of 

the  early  Plateresque,  a  special  charm.  This  epoch  Pf-io.-i? 

is  called  after  its  originator.  Cardinal  Cisneros,  the 

Cisneros  style,  and  it  was  Hnrique  Hgas,  the  dis= 

ciple  of  a  Brussels  artist,  who  carried  this  style  to 

triumph.  He  tried,  at  first  with  small  success,  to  con= 

struct  Renaissance  buildings,  which  were  reminiscent 

of  the  Gothic.  Later,  however,  he  constructed  Go= 

thic  buildings  which  were  suited  to  his  style  issuing 

from  the  Mudcjara  decorative  ait.    But  it  was   his 

son=in''law,AntonioCovarrubias,  who  first  succeed' 

ed  in  obtaining  full  recognition  for  the  Italian  Re^ 

naissance.  He  became  the  greatest  rei)resentative  of 

the  full  Plateres(|ue  style  (also  called  the  style  o^  43.50    ' 


XII 


Pf.  47,  =i3, 
54 


Carlos  V.  His 
later  works  pos= 
scss,  onthewho= 
le,  the  genuine 
highRenaissance 
character,  free 
from  all  the  petty 
features  of  the 
Plateresque  style. 

Churrigucra 
had,  later  on,  as= 
sociated  himself 
with  the  art  me= 
thods  of  Egas, 
and  with  a  suc= 
cess  which  de= 
serves  tobecalU 
ed   unexampled. 

Madrid,  Don  Jose  Lazaro  ^^  '^  ^'""^  ^^^''  i" 

Late  Gothic  Castillian  Door  Knoder       the  latter  part  of 

Wrought  Iron.  Beginning  of  XVI.  century  the  IS'**  century, 

Ventura  Rodri= 
Pf-37  guzz,  contrary  to  Churriguera's  will,  converted 
many  churches  into  classical  temples  and  erected 
a  number  of  classicistic  altars.  But  this  was  of 
little  importance  in  comparison  to  the  mad  en= 
thusiasm  felt  for  Churriguera  and  his  pupils,  and 
to  which  innumerable  Gothic  altar  works  were 
sacrificed. 

A  special  Spanish  peculiarity  in  the  forming  of 
the  interior  details  is  the  choir  built  in  the  centre,  —  a 
church  within  a  church,  so  to  speak,  —  and,  although 
it  is  true  that  sometimes  the  whole  impression  of 
the  interior  seems  complicated  thereby  and  the 
worshipper  pushed  back  from  the  high  altar,  still  on 
the  other  hand,  a  special  atmosphere  is  gained  and 
new  fields  of  activity  are  given  to  the  architect  as 
well  as  to  the  sculptor. 

Manifold  in   the  highest  degree   is   the  construe^ 

pi.6s.78.  tion  of  the  large  hospitals  and  colleges,  with  their 

64,34.85.92  splendid    facades    and    courts,    the    Gothic    Ex= 

PI.  61-63  change  in  Valencia,  Palma  and  Zaragoza,  the  Law 

PI.63-90  Courts  like  those  of  Barcelona,   and  the  Palaces 

P(.  71  of  Administration,  Diet  and  the  Provincial  Parlia= 

ments. 
Pf.74  The  great  Spanish  cemeteries  are  gruesome  and 
gloomy  spots.   That  of  Barcelona,  illustrated  here, 
shows   that   they  are    real    burial   places,   where 
no  living  creature  has  anything  to  seek.   The  mark= 


86-89 


ediy  conservative  character  of  the  Spaniard,  aU 
ready  mentioned,  shows  itself  pronouncedly  in  the 
declining  middle  ages  through  the  arrangement 
of  tombs.  That  the  artists  had  a  special  preference  P'-So.si. 
for  wall  tombs  is  not  astonishing,  after  all  that 
has  been  mentioned  about  the  flattened  character 
of  objects  projecting  from  the  wall.  How  long  the 
Gothic  forms  were  conserved  is  especially  re= 
vealed  to  us  by  the  tomb  of  Archdeacon  Villegas 
in  the  Cathedral  of  Burgos. 

Tfie  Spanisfi  fioiise,  and  above  all,  the  nobleman's  pr.  66-71. 
mansion,  originally  generally  showed  not  only  a  re= 
served,  but  a  dark  and  defiant  method  of  construc= 
tion.  In  Avila,  the  towered  houses  of  the  nobility 
form,  as  it  were,  an  interior  fortification  girdle 
against  not  only  attacks  from  without,  but,  still 
more,  against  rebellions  from  within  the  town.  Very 
often  the  towered  house  stands  free  and  clear 
and,  built  on  a  quadrangular  ground  plan,  shows 
a  flat  roof  and  crowned  battlements.  Like  the 
towngate,  the  facades  of  these  houses  were  later 
built  in  a  finer  and  more  stately  style.  The  boarded 
passages  of  defence  in  exchanges  and  colleges  were 
replaced  for  decorative  purposes  by  open  halls  sup^ 
ported  by  columns.  The  battlements  were  decora= 
tively  shaped/  those  of  the  Valencian  Exchange />/: 62 
were  formed  like  crowns,  and  from  them  developed 
the  still  pop* 

ular  hU 
agree  like 
roof  crown, 
the  so-calU 
ed  "Cres- 
teria".  The 
traditional 
corner  tow* 

ers  are 
still  to  be 
found  in  the 
IS't-  cen= 
tury,  for  in= 
stance,  on 
the  gay  and 
delightful 

Rococo 

Palaceofthe 

Marquis  de  n        r         \t 

^,  barcelona,  Museo 

°  Late  Gothic  Door  Knocker 

in  Valencia.  XV.  century 


Pf.69 


PI.  70 


XIII 


Madrid,  Don  Jose  Lazaro.  Late  Roman  Bronze  Censor  <XII1.  centur\ )  and  Gotliic  Bronze  Candlestick  from 

Zamora  (XIV.  century) 


66,  67. 
?,i6,S7 


PI.  72 


90-9J 


94-99 


The  dwelling  house  still  preserves  to  the  present 
time  a  very  closed,  reserved  and  repellant  exterior/ 
not  revealing  its  real  character.  The  houses  very 
often  have  two  floors  for  the  reason  that  the 
ground  floor  is  occupied  in  summer,  because  of 
its  greater  coolness,  while  in  winter  the  family 
moves  to  the  ujjper  floor,  the  lower  one  being  too 
damp  and  cold.  On  the  upper  floors,  narrow  baU 
conies  are  never  lacking,  nor,  on  the  ground  floor, 
the  grated  windows  through  which  at  night  lovers 
and  betrothed  converse.  The  peasant's  house  on 
the  east  coast  is  very  lightly  built,  because  of  the 
mild,  equable  climate,-  tliose  in  harsh  Castile  and 
Aragon  are  massive  and  firm  while  in  the  pro- 
vince of  Galicia,  which  has  been  justly  called  for 
ages  Spanish  Switzerland,  they  naturally  show  a 
great  similarity  to  the  Swiss  peasant  houses. 
Splendid  staircases  are  not  often  seem  in  Spain,- 
however,  those  in  the  stately  mansions  of  the  no= 
bility  always  display  a  sombre  reserve  and  never 
exceed  a  somewhat  subdued  brightness. 
In  the  court  buildings  two  different  types  are  to 
be  remarked  at  an  early  period.    In  the  north  were 


found  the  closed  walls,  while  in  Andalusia  and 
Toledo  was  to  be  noted  the  sort  of  peristyle^Iike 
building  of  the  open  courts,  surrounded  by  ar= 
cades,  and  frequently  having  a  linlc  fountain  in  the 
middle. 

The  ceilings  of  churches,  like  those  of  palaces,  pi.ioi-io6 
have  always  been  constructed  in  a  specially  magni= 
ficent  manner.  The  Moorish  model  can  be  recogni=^ 
zed  up  to  the  16'''  century,  when  the  Mudejar 
panelled  ceiling,  with  its  cell-like  wainscoting,  was 
succeeded  by  the  Renaissance  coffered  ceiling.  The 
geometrical  pattern  of  the  ceiling  was  preserved  in 
the  most  various  ways,  whether  they  were  built 
of  wood  or  stone.  At  the  time  of  the  late 
Gothic,  the  star  design  was  frequently  so  enriched 
that  there  arose  (juite  a  striking  resemblance  to  lace 
patterns.  The  Mudejar  wood  ceilings  show  mani^ 
fold  inlaid  ornamentations  of  ivory  and  other  ma- 
terials.    The  Renaissance   ceilings  are   frequently 

richly  gilded.    The  dividing  of  the  doors  and  door=  P1.107.109. 

120—12/t 
wings  into   small   panels  remained  in  use  in  Spain 

until  late  into  the  16"''  centurv.     The  development 

and  variation  of  the  geometrical  motives  used  are 


XIV 


easily  to  be  traced  by  the  examples  here  shown. 
/>/.  75- 92  (Observe  in  this  connection  the  door  in  the  back= 
ground  of  the  Cathedral  of  the  Way  of  the  Cross 
in  Burgos,  and  on  the  staircase  of  the  University 
of  Salamanca.) 

* 

The  inner  rooms  of  the  mansions  of  the  nobiI= 
ity  and  of  the  citizens  have  no  tendency 
to  any  great  lu.xury,  not  even  to  real  com^ 
fort  or  convenience.    The  masculine  and,  at  times, 
slightly  ascetic  manner  of  the  Spaniard  is  expressed 
in  such  a  renunciation.   The  furniture  corresponds 
to  the  character  of  the  rooms.  Great  attention  is  paid 
to  behaviour  and  dignity,  as  well  as  to  an  aristocratic 
bearing  and,  in  addition  to  this,  there  comes  at  times 
a  certain  childlike  trait,  which  reveals  itself  in  a  naive 
joy  in  playful  things,  such  as  complicated  furniture. 
The  wealth  of  Spain  is  considerable  in  old  ecclesiastic 
PI.108.  cdXftirniture,  such  as  the  numerous  choirstalls,  often 
richly  carved  by  artists  of  Germany,  the  Nether= 
PI.  122  lands  or  France,  and  the  sacristy  wardrobes,  which 
were  magnificently   wrought  in   the   17'''  and  IS'"" 
Pi.imto  centuries.     As   regards   secular  furniture,    chests, 

120. 122-124  .  I  L  .        .       1  TL 

chairs  and  secretaries  play  the  principal  part.  Ihe 
Pi.ii3,ii4  chair,  the  so=called  "Sillones  fraileros",  greatly 
resembles  the  Italian  chair  in  its  main  form,  except 
that  the  pattern  of  the  carved  or  inlaid  ornamenta^ 
tion,  especially  of  the  nail  work,  betrays  the  national 
Spanish  character.  On  the  carved=wood  chests, 
PI.  115- IIS  as  well  as  on  those  covered  with  leather  or  velvet, 
the  ornamental  iron  garnishments  and  locks  play 
an  important  part.  Of  the  greatest  interest  is  a 
piim  IS'*"  century  buffet  in  three  parts,  which  is  painted 
inside  and  which  shows  the  Mudejar  style  through^ 
out.  The  panels  were  divided  in  a  manner  similar 
to  the  large  Moorish  and  Mudejar  doors.  The  sec  = 
/'/://5,//9,  retaries  and  cabinets  (contador  or  bufete)  were 
frequently  introduced  from  Germany  in  the  IS'*' cen= 
tury  and  it  would  appear  that  in  the  16'''  century 
such  furniture  was  made  there  in  large  quantities 
with  special  consideration  for  the  Spanish  taste. 
These  importations  were  forbidden  in  1603  and  the 
foreign  models  were  then  copied  and  varied  by  the 
Spanish.  The  secretaries  made  in  Vargas,  in  the 
province  of  Toledo,  were  especially  popular  and 
Pi.120  were  known  under  the  name  of  Varguenos.  These 
were  case^Iike  writing  tables  upon  a  carved  stand,  the 
folding  board  on  the  outside  being  ornamented  with 


rich  iron  garnishments  mounted  on  velvet  and,  above 
all,  adorned  with  a  gigantic  lock.  The  inside  facade 
of  these  writing-tables  was  very  often  covered  with 
wrought  silver  work,  and  to  sudi  an  extent,  that  the 
manufacture  of  sudi  silver  secretaries  was  repeat= 
edly  forbidden  because  of  their  exaggerated  luxury. 
However,  ebony  work  with  wrought^silver  remained 
especially  popular  until  into  the  late  periods.  It  is 
not  astonishing  that  the  inlaid  work  of  costly  ma= 
terial,  with  the  application  of  tortoise  shell,  ivory 
and  mother-of-pearl,  was  especially  esteemed  at 
the  time  of  the  Churrigueresque  style.  The  Spanish 
tables  are  very  often  easily  recognizable  by  their 
wrought=iron  supports.  Naturally,  in  connection 
with  all  this  furniture,  the  satisfaction  in  detailed 
forms,  already  expressed  in  the  main  architecture, 
is  particuarly  noticable.  This  can  be  observed  also 
in  the  form  of  the  beds. 

In  no  other  country  has  the  art  oj  ivroiight'iron 
been  so  ardently  fostered  as  in  Spain.  Only  Ger= 
many  and  England  can  compete  with  her,  and  this 
is  also  true  in  connection  with  works  in  bronze. 
The  Moors  added  no  new  motives  to  this  art,  neither 
did  they  excel  in  it.  Wrought  =  iron  work  pro= 
duced  skilful  masters  throughout  all  Spain.  In  1250 
the  Catalanians  Blay  and  Sunol  were  summoned 
to  Paris  to  construct  the  gratework  for  Notre  Dame. 
The  principal  features  of  the  Spanish  wrought^iron 
work  are  the  numerous  chapel  gratings  <the 
Rejas)  above  all,  the  monumental  ones  which 
enclose  the  altar  house  and  choir.  Besides  these 
the  Spanish  wrought  =  iron  art  achieved  great 
triumphs  with  candelabra,  braziers  <Braseros> and 
door  garnishments,  as  well  as  locks  and  chest=bind= 
ings.  The  conservative  character  of  the  Spaniard 
reveals  itself  here  again  in  the  fact  that  the  Roman 
element  was  preserved  until  late  into  the  Gothic 
period.  The  same  fact  is  to  be  noted  in  connection 
with  the  ornamentation  of  mortars  and  weights  in 
the  17'''  and  18'''  centuries.  Just  as  the  artistic, 
perforated  garnishments  are  the  chief  decoration 
of  many  a  simple  or  velvet=covered  wooden  chest 
and  of  the  outside  of  many  a  secretary,  thus  the 
large  nails  with  which  the  leather  or  stuff  covering 
of  chairs  is  fastened  are  of  considerable  decorative 
importance.  Of  the  greatest  importance  is  the  fact 
that  large  nails,  manifoldly  varied  in  their  form,  are 
used  as  the  sole  decorative  motive  on  the  heavy 
wooden  house  doors  in  Castile  and  Arragon  and, 


PI  124 


PI  125 


Pll3o-li 
page  XJ 


PI  1  i^ 


PIIS7 


PI  11 5- 1 1< 
PI  129 


PI  126,  n 
comparet 
PIK4 


XV 


Phct  Ar\/nM,u 


Barcelona,  Catedral.    Gothic  decorative  Finish  for  vaulted  Ceiling.   XIV'.  ceiiturv 


naturally,  also  on  the  wooden  doors  of  cliurciies 
and  great  public  buildings.  The  mussel  motive,  like 
that  of  tiie  insignia  of  different,  knights' orders,  is  fre= 
quently  employed  in  the  decoration  of  wood  and 
stone.     That  the  locksmith's  profession    produced 

39.I40  eminently  fine  work  in  locks,  bolts  and  keys,  goes 
without  saying.    Among  the  large  seven^branched 

Pf.n.i  church  candelabra,  those  in  the  cathedrals  of  Burgos 
and  Sevilla  are  justly  the  most  celebrated  because 


of  their  beautiful  proportions  and  the  fineness  of 
their  execution.  Finally,  our  attention  must  be 
turned  to  t  lie  nutnerous  pul[)its  made  of  base  metal.  /y./jo 
As  in  other  branches,  so  also  in  works  \n  />/vcioiis 
mctafs  the  church  vessels  cover  a  broad  field.  Be- 
sides chalices,  crosses,  reliquaries  and  'Pax'^tablets, 
the  tabernacle  or  Custodia  developed  a  s\>\cx\=  ri.i62 
did  and  remarkably  individual  manner  of  constriic= 
tion.  The  most  beautiful  specimens  of  these  always 


XVI 


individual,  architectonically  articulated  and  costly 
little  structures  which,  considering  their  materials, 
rise  to  an  uncommon  height,  were  produced  in  the 
16''^  century  by  members  of  the  Arphe  family,  orig= 
inally  from  Germany.  We  refrain  from  giving  a 
description  of  the  celebrated  and  often  described 
West  Gothic  consecrated  crowns.  On  the  other 
hand,  it  is  entirely  owing  to  the  unfavourableness 
of  the  present  time  if  no  example  is  given  of  the 
V^eneras,  which,  often  formed  in  a  triangular  shape 
and  bearing  the  name  of  the  Virgin  Mary  or  Christ, 
were  worn  as  medals  or,  as  it  were,  as  Agnus  Dei. 
Secular  ornament  is  not  distinguished  by  any 
especial  peculiarity.  At  the  period  of  the  transition 
to  the  Churrigueresque  style,  however,  the  change 
in  taste  and  in  decor  must  be  very  distinctly  noted. 
In  harmony  x^'ith  the  new  Gothicism,  the  stones  are, 
for  the  most  part,  set  "a  jour"  <Holland>.  In  the 
jyih  century  the  most  extreme  luxury  reigned  in  gold 
PI.  163.164  and  silver  table  furnishings,  although  at  the  present 
time  there  are  not  very  many  examples  to  be  seen. 
The  finest  are  naturally  in  the  houses  of  the  Spanish 
upper  nobility, 
pt.113.  Leather  was  used  in  Spain  in  the  applied  arts  with 

155—158 

PagcVii  a  special  partiality.  Besides  holders  for  all  possible 
sorts  of  utensils,  covers  for  caskets  and  upholstery 
materials  for  settles,  there  \^'ere  also  produced,  richly 
decorated  wall  hangings,  the  variegated  decor  of 
which  often  lies  on  a  gold  ground.  This  is  seen  in 
the  so-called  Guadameciles,  which  derive  their  name 
from  the  Guadames  in  Africa,  where  they  were  first 
produced  extensively.  They  were  made  with  great 
elegance  in  Cordoba  and  later  often  imitated  in 
France. 
Pi.166-168  Carpets  were  produced  at  a  very  early  period, 
especially  in  Chinchilla  (province  Alicante),  and  in 
Cuenca.  The  oldest  examples  known  to  us  extend 
back  to  the  beginning  of  the  12'''  century.  Excellent 
work  was  also  done  in  Alcaraz,  near  Murcia,  chiefly 
in  the  16'''  century.  The  Spanish  carpets  or  rugs  of 
the  Middle  Ages  frecpjently  show  an  especial  knotting 
tedinic  which  allo\"('s  sharp  contours  and  small  geo= 
metrical  patterns.  Through  this  tedinic  a  decorative 
principle  can  be  carried  out  like  that  of  the  Azulcjos. 
The  middle  ground  is  not  infrequently  divided  into 
small  mosaic^like  parts,  and  sometimes  the  pattern 
stands  out  from  a  sort  of  plaited  back  ground.  Natur= 
ally,  Cufic  inscriptions  were  ornamentally  used 
here  in  the  borders,  as  in  stucco  decoration.  A  strike 


ing  feature  is  that  the  border  decoration  frequently 
covers  two  thirds  of  the  whole  carpet,  the  middle 
part  being  thus  very  narrow.  Besides  geometrical 
patterns  we  find,  especially  on  the  borders  of  the 
narrow  sides,  conventionalized  figures  of  men  and  ani= 
mals,  the  grotesque  forms  of  which  were  perhaps  not 
the  intention  of  the  designer  of  the  carpet,  but  which 
nevertheless  strongly  remind  us  of  Coptic  patterns. 
A  further  peculiarity  of  the  Spanish  carpet  is  the 
coat  =  of=arms  motive.  A  great  predilection  was 
shown  for  this  from  the  second  half  of  the  IS'*^  cen= 
tury,  and  it  was  manifoldly  varied  until  into  the 
18'''  century.  In  the  rich  collection  of  the  South 
Kensington  Museum,  one  is  struck  by  the  numerous 
carpets  which  show  as  main  motive  sudi  patterns 
as  are  usually  found  in  wall  coverings.  Besides  floor 
carpets,  the  so-called  "Reposteros"  is  known  in 
Spain.  This  is  used  to  hang  over  the  balconies  on 
festive  occasions. 

In  the  development  of  the  actual  textile  art,  i.  e.,  o^  pi.io.-.-.;-, 
the  stuffs,  three  periods  can  be  distinguished.  First, 
the  Arabian,  with  Almeria  as  the  principal  manu= 
facturing  place.  Besides  the  Sassanian  influence,  with 
its  conventionalized  patterns  of  animals,  that  of  the 
Coptic  is  strongly  to  be  perceived  and,  through  these, 
the  whole  Moorish  style  can  be  understood.  Later, 
from  the  time  of  the  late  Gothic  epoch,  the  Italian, 
or  rather  the  Venetian  influence,  is  to  be  remarked, 
of  \ii'hich  the  factories  of  Sevilla,  Toledo,  Granada 
and  Valencia  give  evidence.  The  interesting  differ= 
ences  in  the  fabrication  of  Spanish  and  Italian 
velvet,  have  been  explained  by  Pedro  de  Arntiano 
in  his  excellent  introduction  to  the  catalogue  "Ex= 
hibition  of  Spanish  Materials  in  Madrid"  <1917>. 
At  the  time  of  the  Baroque,  but  chiefly  in  the  18''' 
century,  the  French  influence,  issuing  principally 
from  Lyons,  was  very  strong  in  the  cfecor.  Since 
the  days  of  the  Celtiberians,  the  activities  of  the 
Spanish  were  uncommonly  extensive  in  the  ceramic  pt.i4i-i' 
branch  of  art.  Two  large  groups  are  to  be  disting* 
uished.  The  one  comprises  principally  vessels,  i.  e., 
dishes,  plates  of  different  sizes^  vases,  jugs,  etc., 
and  represents  a  "brush"  decor,  mostly  in  gold  or 
gold  colour  and  in  blue  or  green  (Teruel).  The  sec= 
ond  group  comprises  the  tiles,  the  so=called  "Azu= 
lejeria".  In  the  Hispano=Moresque  Ceramic  of  about 
the  middle  of  the  12'''  century,  Calatayud  played  a 
leading  part,  and  in  the  16'''  century  it  gained  renewed 
importance  as  a  placeof  manufacture.   In  the 


XVll 


H'*"  century  Malaga  was  a  principal  manufacturing 
centre,  and  the  ceramic  art  attained  there,  at  the 
end  of  the  H'*"  century  and  tlie  beginning  of  the 
15'''  century,  its  highest  point,  as  also  at  Granada. 
In  the  15''^  century  the  factory  at  Manises  <Va= 
lencia)  was  on  the  same  level  The  particular  gloss, 
the  "Reflexo  metalico",  which  was  already  to  be 
found  on  the  floor  tiles  of  the  castle  of  Medina^ 
Azzahra  at  the  end  of  the  10'''  century,  and  also 
later  on  the  tiles  of  the  15'''  and  16''^  centuries,  was 
obtained  by  mixing  red  ochre,  sulphur,  very  old 
copper  and  silver.  This  Ceramic  is  known  to  have 
been  very  often  adulterated,  but  the  adulteration  is 
easily  detected  by  the  colour.  These  articles 
were  fired  three  times,-  first  after  the  fabrication 
of  the  raw  shape,  the  second  time  after  the  pro= 
duction  of  the  white  or  blue  glaze,  and  then  after 
the  layer  of  the  gloss  decoration  had  been  put  on. 
Large  terra  cotta  )ugs,  called  Tinajas,  which  served 
as  cruets  for  wine  or  oil,  were  often  covered  with 
a  green  and  white  glaze,  principally  made  in  Talavera 
where,  since  the  beginning  of  the  13'''  century,  a 
certainly  still  older  ceramic  industry  can  be  traced. 
(White,  unglazed  earthern  vessels  are  still  made 
to  the  present  day  in  Andujar).  In  the  decor  of 
pottery  at  the  end  of  the  14'''  century  and  at  the 
beginning  of  the  15'''  century,  large  ornament 
constrasts  with  a  small  one  principally  consisting 
of  spiral  ground  ornamentation.  At  the  beginning 
of  the  15'''  century  the  backs  of  the  plates  began  to 
be  ornamented.  Text,  which  was  used  everywhere 
by  the  Moors  as  an  ornamental  motive,  finds  here, 
too,  an  important  place.  Above  all,  the  word 
"Alafia"<pardon  or  mercy)  is  used.  This  word,  written 
on  ribbons,  is  then  replaced  by  a  Latin  one  in  Gothic 
letters  and  becomes  an  important  element  of  the 
border  ornamentation.  Besides  the  Spiral  motive, 
the  rowel  motive  gains  extraordinary  importance, 
although  chiefly  on  armorial  plates.  But  the  favor- 
ite motive  is  the  vine  leaf.  In  the  course  of  the 
J5ih  century  the  vine  leaf  is  made  smaller  and 
smaller,  the  garlands  of  vine  leaves  placed  oppo= 
site  each  other  become  more  and  more  numerous 
and  everything  becomes  more  delicate  and  dainty. 
Finally  the  plates  are  divided  into  single  compart- 
ments by  plastic  radii,  which  are  connected  on  the 
'. /5:i-/5-/ border  by  bows.  In  connection  with  tile  work, 
the  coloured  roof  tiles,  especially  the  blue  glazed 
ones  (hence  the  name  Azulejos)  are  to  be  disting= 


uished  from  the  wall  tiles,  particularly  as  they  were 
used  in  the  provinces  of  Valencia  up  to  a  late  period. 
These  wall  tiles  serve  as  a  covering  for  socles  in 
courts  and  rooms,  as  a  covering  for  the  altar 
table  —  the  Mensa  —  and,  chiefly  since  the  15''" 
century,  also  as  floor  surface  in  Catalonia  and 
Aragon.  Not  so  much  attention  is  paid  to  the  single 
pattern  in  the  tiling  work,  to  the  single  tiles,  but 
more  to  the  whole  effect ,  to  the  harmony  of  the 
socle  tiling  with  the  other  decoration  and  with  the 
whole  architecture.  As  far  back  as  the  10'''  century 
there  is  to  be  recognized  the  inclination  to  enliven 
with  colour  the  floor  and  walls,  or  at  least  the  wall 
socle,  and  to  produce  colour  contrasts  in  geomet- 
rical patterns.  In  the  14'''  century  in  Aragon  and 
Andalusia  there  were  used  for  the  decoration  of 
towers  and  facades  as  well  as  for  floor  tiling,  glazed 
coloured  tiles  (especially  green,  white  and  blue), 
with  metal  reflex.  Of  this  work,  different  towers  in 
Teruel  and  the  Alcazar  facade  in  Sevilla  offer  good  pt.s3jefi 
examples. 

In  the  development  of  the  wall  tiling  three  dif- 
ferent divisions  are  to  be  distinguished.  In  the  earliest 
times,  tiling  work  was  treated  like  mosaic. 
Artistic  star  patterns  and  other  geometrical  orna= 
ments  were  made  out  of  small  parts  and  of  splin- 
ters (Aliceres).  The  pattern  became  ever  richer 
with  time,  more  complicated,  but  in  a  certain  degree 
more  orderly.  The  band  work,  above  all,  developed  Pf.153 
itself,  and  there  followed  theLaceria,  a  i/tro/"  which 
grew  from  tendrils  and  flat  geometrical  ornamen- 
tation. The  play  of  the  white  bands  darting  here  and 
there,  and  of  the  coloured  parts  of  the  pattern,  is 
incessantly  varied.  From  the  original  flat  pattern,  as 
out  of  one  formed  according  to  tone  values  and  col- 
ours often  doubly  rhythmized,  there  developed  in 
the  14'''  century  a  coherent  network,  and  finally  a 
variation  of  plaited  ribbons  upon  a  white  ground. 
This  is,  asOsthaus  has  shown,  the  strange  change  of 
the  Moorish  decor  in  the  Alhambra  from  that  of  the 
Court  of  Myrtles  to  that  of  the  Court  of  Lions.  The 
mosaic^like  combination  is  followed  by  the  Azulejo, 
containing  only  a  i)art  of  the  |)attern  and  forming 
with  three  other  parts  the  whole  design,  or  in  small 
patterns  which  give  the  model  a  constant  correspon- 
dence to  a  piece  of  stuff.  The  character  of  the  sur- 
face of  the  late  Gothic  and  Renaissance  Azulejo,  as 
well  as  the  formation  of  the  pattern,  is  chiefly  deter- 
mined by  the  technical  process.    First  the  colours 


XVIII 


of  the  pattern  are  separated  from  each  other  by  plas= 
tic  stripes  which  are,  before  being  fired,  cove= 
red  with  a  layer  of  grease.  This  technic  is  called 
"Cuerda  seca".    Later  in  the  Cuerda  technic  the 

Pf.i54  parts  of  the  pattern  are  deepened  and  a  separating 
stripe  is  no  longer  necessary.  Besides  the  strictly 
geometrical  motive,  that  of  the  coat=of=arms  appears 
on  the  Sevillian  and  Zaragozan  IS'*^  century  tiles, 

P(.t54  and  in  the  15'''  century  the  animal  motive  is  much 
employed.  Plates  were  also  made  in  this  Cuerda  seca 
technic,  many  with  male  and  female  heads  showing 
no  trace  of  the  Italian  influence. 
Tiie  blending  of  the  tile  decoration  with  the  mate= 
rials  is  to  be  recognized  in  the  pattern  more  than 
once,  as  well  as  in  the  whole  effect,-  thus  the  cele= 
brated  Fortuny  Azulejo  in  the  Osma  Collection 
reveals  the  closest  relation,  not  only  to  the  Persian 
work,  but,  above  all,  to  the  Spanish  armorial  carpets. 
The  Spanish  tiling  enjoyed  in  the  \5^^  century  an 
international  popularity.  At  the  end  of  that  cen= 
tury,  Niculoso  Pisano  of  Sevilla=Triana,  an  import^ 
ant  manufacturing  centre,  where  fonts  were  also 
constructed  in  rich  glazed  ceramic,  brought  about 
a  significant  change  in  the  method  of  decoration  by 
introducing  Renaissance  motives  and  Italian  tedinic. 
Whole  altars  were  then  built  in  the  Azulejo  style, 
but  the  national  character  of  the  art  suffered  so  much 
by  it  that  a  decline  soon  took  place  in  the  manu= 
facture,  and  Palavera  replaced  Sevilla  to  a  certain 
/5o, /?/ extent.  1  he  lalavera  ceramic  is,  chierly  as  regards 
pottery,  that  style  which  may  rightly  be  designated 
as  the  national  Spanish  style.  It  is  characteristic  and 
individual,  always  masculine,  and  sometimes  a  little 
rough,  but  always  of  a  strongly  decorative  effect. 
In  connection  with  the  dishes  of  the  16'''  century 
it  is  true  that  one  can  distinguish  at  times  resem= 
blance  to  the  Mudejar  style  and  distant  reminis= 
cences  of  Persian  models,  and  there  are  undoubtedly 
vases  of  this  and  the  following  centuries  which  be= 
tray  the  acquaintance  of  the  decorator  with  the  Italian 
models.  These  things  are  only  interesting  from  the 
art=history  point  of  view  and  arc,  on  the  whole,  un= 
important.  In  this  connection,  however,  it  is  to  be 
noted  that  the  Spanish  ceramic  differs  from  the  Ita^ 
lian  in  the  same  manner  that  the  two  languages  differ. 
The  animals,  which  form  the  chief  motive  of  the 
16'''  century  plates,  are  drawn,  if  not  always  cor= 
rectly,  with  uncommon  sureness  and  effectiveness  by 
the  designer.    The  butterfly  motive,  which  is  found 


page  XX 


on  the  rims  of  the  16'*"  century  plates,  was  given  up 
later.  The  16'''  century  productions,  by  the  way, 
were  not  made  in  Palavera  de  la  Reyna  itself,  but 
in  the  neighbouring  Puente  del  Arzobispo.  In  the 
18'''  century  the  finer  Alcora  porcelain  competed 
strongly  with  the  ceramic  of  Palavera,  but  the  imi= 
tation  of  the  Alcora  decor  could  not  prevent  its 
decline. 

Less  interesting  than  the  jugs  and  plates,  shaving 
basins  and  holy  water  basins,  inkstands  etc.,  is  the 
tile  ceramic  of  Talavera,  notwithstanding  the 
greater  popularity  it  enjoyed  in  Spain  and  in  the 
colonies.  Here  were  principally  produced  whole 
pictures  in  the  tiling,  and  these  soon  found  applica= 
tion  in  the  form  of  altar  pictures,  friezes,  ornamen= 
tations  of  sacristies  and  other  walls.  The  decor  is 
generally  painted  in  blue  on  a  milk=white  ground,  or 
else  has  a  stronger  polychromic  harmony  of  the  co= 
lours  blue  and  yellow.  The  colour  became  very  de= 
licate  and  harmonious  with  time  and  thus  offset  the 
frequently  rude  shapes  and  too  free  drawings. 
The  porcefaht  factories  where  crude  and  finished 
porcelain  were  made  arose  in  Spain,  as  in  other 
countries,  in  the  18'''  century.  The  factory  of  Al=  pt.  Mi-t}^ 
cora,  founded  in  1727  by  Count  Bonaventura  de 
Aranda,  first  produced  a  kind  of  fayence.  The 
founder  had  in  mind  the  production  of  superior 
goods,  and  therefore,  based  the  whole  manufacture 
upon  as  large  an  export  of  serviceable  articles  as 
possible.  The  chief  workman  of  the  first  period  was 
the  Frenchman  Ollery,  from  Moustiers,  who 
brought  the  taste  of  the  French  factories  into  Spain. 
Pyramids  with  children's  figures,  vases  after  Chin= 
ese  and  Delft  designs  as  well  as  tea  things  were 
the  principal  productions.  At  the  height  of  its 
prosperity,  three  thousand  workmen  were  employed 
in  this  factory.  Porcelain  in  the  Saxon  style  had 
been  manufactured  since  the  60's  of  the  18''' century, 
when  the  German  Johann  Knipfer  worked  as  the 
first  decorator  in  Alcora.  After  1780  there  were, 
besides  the  factory  of  Aranda,  four  rival  institutions 
in  the  neighbourhood.  After  Knipfer,  the  rnanu^ 
facture,  under  Cloostermans  from  Paris,  experienced 
a  revival,  <1787  to  1798),  but  in  the  19'''  century 
the  decline  took  place.  In  1858  the  factory 
went  into  other  hands  and  the  new  owners  carried 
the  business  on  in  a  throughly  factory=like  manner, 
with  English  methods  and  English  workmen.  In 
1759  the  Buenretiro  Manufactury  in  Madrid  was 


XIX 


founded  as  a  branch  business  of  Capo  di  Monte, 
\%'itli  Italian  workmen,  and  for  the  first  thirty  years 
made  only  decorative  pieces  for  the  royal  family 
after  Cliinese  patterns.  The  most  brilliant  produc= 
lions  of  this  factory  are  two  rooms  wainscoted,  so 
to  speak,  with  porcelain.  One  of  these  is  in  the 
castle  of  Madrid  and  the  other  in  that  of  the  Aran= 
juez<  1763 -1765). 
"(.175.176  Gfass  was  made  in  large  quantities  in  Spain  during 
the  Roman  periods.    The  chief  places  of  manufac= 


ture  were  Castril  de  la  Pena,  where  work  similar 
to  that  in  Murano  was  carried  on  and,  in  tlie 
IS'"^  century.  La  Granja,  where  the  French  taste 
predominated.  Pilgrim's  flasks,  oil  and  vinegar  cruets, 
and  jugs  often  show  bold  and  fantastic  shapes.  The 
desire  for  ornamentation  made  itself  felt  everywhere, 
as  did  the  other  favorite  decorative  forms.  The 
whole  character  of  the  Spanish  glass^art  is  thor= 
oughly  masculine,  like  the  character  of  the  whole 
Spanish  applied  art. 


After  I'litg  tin  J  Caiiijaich 
Ripoll,  Sa,  Maria.   Roman  Mosaic  for  Apsis.    End  of  Xi.  century 


LIT      ERATURE 


C.  Justi:  Introduction  to  Baedeker's  "Spanien  "  (Leipzig  1912) 

M.  Dieulafoy:  Gesdiidite  der  Kunst  in  Spanien  und  Portugal  <in  the  series  "Ars  Una". 

Stuttgart  1913) 
I.  Caved  a:  Gesdiidite  der  Baukunst  in  Spanien,  published  by  F.  Kugler  (German  by  Paul 

Heyse.    Stuttgart  1858) 

0.  Schubert:  Gesdiidite  des  Barod<  in  Spanien  <EssIingen  1908) 

1.  Braun: Spaniens  alte  Jesuitenkirdien  (Freiburg  1913) 

K.  E.  Osthaus:  Grundziige  der  Stilentwicklung  <Hagen  1918) 

C.  Uhde:  Baudenkmaler  in  Spanien  und  Portugal  (Berlin  1889—92) 

M.  Junghaendel:   Die  Baukunst  Spaniens,  mit  Text  von  C.  Gurlitt  (Dresden  1889-92) 

H.  Wurz:  Von  Spaniens  alter  Baukunst  (Munidi  1913) 

PuigyCadafalch:   Arquitectura  romanica  en  Cataluna  (Barcelona) 

V.  LamperezyRomea:  Historia  de  la  Arquitectura 

V.  Lamperez  y  Romea:Las  ciudades  espafioles  y  su  arqin'tectura  municipal  al  finalizar  la  edad 

media  (Anuario  de  la  Asoziacion  de   arquitectos    de   la   Cataluna    1919) 
I.  Quadrado,  M.  Murguia,  R.  Amador  de  los  Rios,  et  al.  EspaiTa,  sus  monumentos  y  artes 

(Barcelona  1884-1903) 
Beriihmte  Kunststatten  (Verlag  E.  A.  Seemann,  Leipzig):    Sevilla.      Granada    und   Cordoba. 

Toledo.  Avila,  Segovia  und  der  Escorial 
El  arte  en  Espana  (edit.  Thomas,  Barcelona):  La  Catedral  de  Burgos.    Guadalajara  =  Alca!a  de 

Henares.     Real   Paiacio   de  Madrid.    La  Casa  del  Greco.     Sevilla.     El 

Escorial.    Monasterio  de  Guadalupe.    Poblet.    Aranjuez.    Ciudad  Rodrigo 
Monumentos  arquitectonicos  de  Espana  (Madrid  1859  —  76)  (New  Edition  1908  fF.) 

Juan  F.  Riafio:    The  Industrial  Arts  in  Spain  (London  1890) 

A.  van  de  Put:    Hispano=Moresque  ware  of  the  XV.  century  (London  1890) 

F.  Sarre  *©  F.  R.  Martin  :  Die  Ausstellung  von  Meisterwerken  Muhammedanisdier  Kunst  in  Miindien 

1910  (Munidi  1912).    Containing  a  list  of  further  special  literature 

E.  Bertaux:    L'exposition  retrospective  d'Art  de  Saragosse  1908  (Saragosse-Paris  1910) 

Pedro  M.  de  Artinaiio:  Catalogo  de  la  exposicion  de  tejidos  esparioles  anteriores  a  la  introduccion 

del  Jacquard  (Madrid  1917) 
Pedro  M.  de  Ar  tin  a  rio:  Catalogo  de  le  exposicion  de  Hierros  antiguos  espafioles   (Madrid  1919) 

Catalogo  de  Mobiliario  Espanol  de  los  siglos  XV.=primera  mitad  del  XVII. 

(Madrid,  2.  edicion,  1918) 
J.  Font  y  Gum  a: Rajolas  valencianes  y  catalanas  (Villanueva  y  Geltru  1905) 

D,  Platon  Paramo:    La  ceramica  antigua  de  Talavera  (Madrid  1919) 

El  conde  de  Casal:  .  ...La  ceramica  de  Alcora  (Madrid  1919) 
Numerous  articles  and  illustrations  in  periodicals: 

Arte  Espaiiol  (Madrid) 

Museum  (Barcelona) 

La  Esfera  (Madrid) 

Historia  y  Arte  (Madrid,-  will  not  appear  further) 

Boletin  de  la  Sociedad  Espanola  de  Excurciones  (Madrid) 

Boletin  de  la  Sociedad  Castellana  de  Excurciones  (Valladolid) 


XXI 


Barcelona,  Don  Carlos  Vallin.    Alcora  Porcelain,  Coffee  Pot  and  Cup,  End  of  XVIII.  century 


LIST   OF    ILLUSTRATIONS 


Afcafd  de  Guadaira,  Castillo  18 
Afcafd  de  Hen  a  res.  Cloister  of  S.  Magdalen, 
Door  Lock  139 

Courtyard  97 

Magistral,  Chapel  Grating  131 

Magistral,  Grating  133 

Oratorio  de  S.  I-'elipe,  Door  Lod<  139 

Palacio  Arzobispal,  Staircase  9/ 

Universidad  64 

Universidad,  Portal  85 
Avifa,  Convento  de  S.  Tomas,  Choir 
Pews  lo8 

Garnishment  for  Door  127 

Grating  133 

Patio  del  Convento  de  S.  Tomas  9^ 

Town  Fortification  2o 


Barcefotia,  La  Aiidiencia  63 
Audience  Court,  Staircase  9o 
Casa  Dalmases  Calle  de  Moncada,  Staircase  91 
Casanovas,  Dona  de  Torrus,  Lace  165 
Catedral, Decorative  Finish  for  vauitedCeiling_\'^' 
Catedrai,  Grating  131 
Catedral,  Grating  132 
Cementerio  viejo  7-1 
Coleccion  Giiell,  Dish  142 
Maria,  Sa.  del  Mar,  Portal  8o 
Museo,  Chest  155 
Museo,  Churdi  Vestments  17o 
Museo,  Door  Knodter  Xll 
Museo,  Embroidery  JX 
Museo,  Silk  Material  /// 
Museo,  Stuff  168 


XXII 


Museo,  Woolen  Material  172 

Pasco,  Don  Patricio,  Lace  165 

Plaza  del  Rey,  Palace  of  Charles  V  27 

Tadiard,  M.  Paul,  Chemist's  Pots  144 

Vallin,  Don  Carlos,  Candlestid<  and  Candaia^ 
brum  138 

Vallin,  Don  Carlos,  Coffee  Pot  and  Cup  XXI 

Valiin,  Don  Carlos,  Eagle  137 

Vallin,  Don  Carlos,  Jug  163 

Vallin,  Don  Carlos,  Mortar  137 

Vallin,DonCarlos,Porcelain  Dishes  and  Plates/-/^ 
Burgos,  Casa  del  Cordon,  Portal  86 

Catedral,  Candelabrum  138 

Catedral,  Central  Tower  43 

Catedral,  Chapel  JO 

Catedral,  Entrance  to  Chapel  51 

Catedral,  Furrier's  Gate  35 

Catedral,  Portal  75 

Catedral,  Tomb  6o 

Catedral,  Towers  34 

Hospital  de  S.  Juan,  Portal  81 

Museo,  Altar  Front  161 

Plaza  Mayor  28 

Town  Gate  23 
Cadiz,  Plaza  de  Isabel  with  Townhall  3o 
Cafatayiid,  Sa.  Maria,  Portal  79 
Can  Terrat,  Brazier  138 
CordoBa,  Catedral,  Gate  126 

Mezquita,  Ceiling  lo3 

Mezquita,  Court  of  Oranges  97 

Mezquita,  Mihrab  Cupola  lo2 

Mezquita,  Mosque  14 

Mezquita,  Sanctuary  // 

Mezquita,  Stucco  Decoration  12 

Torre  de  St.  Nicolas  44 
Ciienca,  Town  Buildings  and  Grounds  16 
Escoriaf  4o 

Granada,    Alhambra,    Ambassadors'    Chamber 
(Detail)  6 

Alhambra,  Court  of  Justice  6 

Alhambra,  Court  of  Lions  3 

Alhambra,  Court  of  Lions,  Capitals  7 

Alhambra,  Court  of  Lions,  Hall  5 

Alhambra,  Court  of  Myrtles  / 

Alhambra,Courtof  Myrtles  and  ComaresTower2 

Alhambra,   Court   of    Myrtles,    Stucco   Deco= 
ration  8 

Alhambra,  Courtyard  with  Facade  4 

Alhambra,  Mosaic  Tiling  153 


Alhambra,  Sisters'  Chamber  9 
Alhambra,  The  Red  Towers  // 
Alhambra,  The  Two  Sisters'  Chamber  lo 
Alhambra,  Vaulted  Ceiling  lol 
Alhambra,  Windows  loo 
Alhambra,  Wooden  Ceiling  lol 
Cartuja  54 

Court  of  an  Arabian  House  96 
Moorish  Market  Hal!  13 
Gratis,  Plaza  Mayor  73 

(j//<7(^/i:7/^/V7/'<7,  Infantado  palace, Court  of  Lions99 
Palaciode  los  Duqiies  del  Infantado  66 

Hagen,  Folkwang  Museum,  Azulejo  and  Floor 
Tiling  154 
Folkwang  Museum,  Floor  Tiling  153 

Huesca,  Capilla  de  Sa.  Ana,  Chapel  Grating  132 
Catedral,  Chest  122 

Leon,  Catedral  26 
Catedral,  Antehall  77 
Catedral,  Choir  Stalls  lo7 
Convento  de  S.  Marcos,  Ceiling  lo4 
Convento  de  S.  Marcos,  Choir  Stalls  /// 

L  ogrono,  Palacio  de  Duque  de  laVictoria,  Portal  87 

London,  formerly  Art  Shop,  Crevecoeur  Plate /-^5 
formerly  Art  Shop,  Crevecoeur  Plate,  Reverse /-i^6 
South  Kensington  Museum,  Dishes  146 
South  Kensington  Museum,  Glass  Jug  175 
South  Kensington  Museum,  Glass  Lamp  176 
South  Kensington  Museum,  Pilgrim's  Flask  I76 
South  Kensington    Museum,    Vinegar  and  Oil 

Cruets  175 
Spanish  Art  Galleries,  Woolen  Carpet  166 
Spanish  Art  Galleries,  Woolen  Carpet  167 

Madrid,  Almenas,  Condede  las,  Alcora  Ceramic 
Chemist's  Pot  142 
Almenas,  Conde  de  las,  Alcora  Dishes  143 
Almenas,  Conde  de  las.  Chair  113 
Almenas,  Conde  de  las.  Chest  118 
Almenas,  Conde  de  las.  Secretary  119 
Almenas,  Conde  de  las.  Silk  Material  174 
Asilo,  Portal  89 

Barcenas,  Don  Domingo  de  las,  Vargueno  12o 
Barcent,  Duquesa  de.  Damask  174 
Belda,  S.,  Secretary  115 
Borondo,  Sr.,  Buffet  118 

Bois,  Don  Feli.v,  Alcora  Busts,  Vases,  etc.  143 
Bois,  Don  Felix,  Alcora  Plaques  and  Saucers  141 
Bois,  Don  Felix,  Alcora  Porcelain  142 
Capilla  del  Obispo,  Door  lo9 


XXIII 


Convento  de  las  Descalzas  Reaies,  Staircase  93 

Hospital  de  la  Latina,  Portal  8/ 

Lafora,  Beatriz  Srta.,  Chest  116 

Lafora,  Don  Juan,  Chest  /// 

Lafora,  Don  Juan,  Choir  Stall  112 

Lazaro,  Don  Jose,  Box  and  Chest  129 

Lazaro,  Don  Jose,  Brazier  138 

Lazaro,  Don  Jose,  Bronze  Censer  and  Bronze 

Candiestid\  XIII 
Lazaro,  Don  Jose,  Custodia  <Monstrance>  162 
Lazaro,  Don  Jose,  Door  KnoAer  J>CII 
Lazaro,  Don  Jose,  Heads  of  Nails  129 
Lazaro,  Don  Jose,  Pastoral  Staff  162 
Lazaro,  Don  Jose,  Secretary  122 
Lazaro,  Don  Jose,  Two  Secretaries  123 
Laiglesia,  Don  Eduardo  de,  Velvet  IJJ 
Medinaceli,  Duke  of,  ^X^ooden  Bendi  121 
Ministerio  de  la  Guerra  JI 
Montal,  Don  Pedro,  Secretary  1/9 
Palacio  Real  // 

Paramo,  Don  Platon,  Bowls  147 
Paramo,  Don  Platon,  Holy  Water  Pots  147 
Ruiz,  Don  Pedro,  Chest  116 
Salamanca,  Marques  de.  Bed  125 
Santillana,  Marques  de.  Chair  114 
Santillana,  Marques  de.  Choir  Stall  112 
Santillana,  Marques  de.  Field  Table  115 
Sinobas,  Don  R.,  Snuffers  14o 
Sinobas,  Don  R.,  Two  Weights  137 
Torrepalma,  Conde  de.  Brazier  138 
Viana,  Marques  de.  Small  Chest  120 
Weissberger,  Don  Jose,  Armorial  Carpet  168 
Weissberger,  Don  Jose,  Four  Chairs  158 
Weissberger,  Don  Jose,  Holy  Family,  Leather 

Work  156 
Weissberger,  Don  Jose,  Hope,  Leather  Work  156 
Weissberger,  Don  Jose,  Leather  Wings  of  a  Look= 

ing  Glass  157 
Weissberger,  Don  Jose,  Leather  Work  PII 
Weissberger,  Don  Jose,  Silk  Material  169 
Weissberger,  Don  Jose,  Table  124 
Weissberger,  Don  Jose,  Talavera  Plate  and  Ba= 

sin  150 
Weissberger,  Don  Jose,  Talavera  Plate  and  Ba= 

sin  151 
Aiaiizaiiares  ef  Reaf,  Castillo  19 
5a.  Alaria  cfe  Gafdacaiio,  Village  Churdi  41 
Munidj,  formerly:  Dr.  von  Buerkel,  Carpet  166 
Pampfoiia,  Catedral,  Ivory  Chest  159 


Paris,  Louvre,  Dish  145 

Past  rait  a.  Ducal  Castle,  Coffered  Ceiling  I05 

Paufar,  ef.  Altars  JJ 

Cartuja,  Iron  Gate  13o 

Portal  80 
P/asencia,  Catedral,  Facade  38 
PoBfet,  Monasterio  2o 
Ripoff,  Sa.  Maria,  Roman  Mosaic 
Safamattca,  Casa  de  las  Condias  67 

Casa  de  las  Condias,  Detail  67 

Casa  de  Doiia  Maria  la  Brava,  Portal  86 

Catedral  Vieja,  Basilica  48 

Catedral  Vieja,  Stuff  //O 

Catedral  Vieja,  Tombs  5S 

Escuelas  Menores,  Courtyard  82 

Escuelas  Menores,  Portal  82 

Esteban,  S.  36 

Esteban,  S.,  Sacristy  52 

Iglesia  de  S,  Justo,  Portal  126 

Key  Tower  25 

Monterey  Palace  69 

LIniversidad  84 

LIniversidad,  Staircase  9-2 

Way  of  the  Cross  95 
Saiitiajjo  de  Composteffa,  Catedral,  Way  of 
the  Cross  47 

Clara,  Sa.  37 

Hospital  Real  68 

Hospital  Real,  Courtyard  99 

Hospital  Real,  Facade  78 

Martin,  S.  Pinario,  Facade  39 

Martin,  S.  Pinario,  Madonna  55 

Plaza  de  Platerias  29 
Santiffaiia,  Colegiata,  Way  of  the  Cross  94 
Segovia,  Alcazar  19 

Aquaducto  XXIV 

Clemente,  S.,  Suburb  32 

Millan,  S.,  Lower  Town  32 
Seviffa,  Alcazar,  Facade  83 

Alcazar,  Patio  de  las  Doncellas,  Wall  Tiling  152 

Alcazar,  Portal  83 

Casa  del  Ayuntamiento  68 

Casa  de  Pilatos,  Courtyards  9^ 

Casa  de  Pilatos,  Grating  135 

Palacio  de  las  Duenas,  Door  lo7 

Palacio  de  S.  Elmo,  Portal  8Q 

Plaza  Nueva  Jo 
Sevres,  Musce  Ccramique,  Dish  146 
Tafavera.  Ceramic  149 


XXIV 


Tarragona,  Catedral  36 

Catedral,  Door  12/ 

Catedral,  High  Altar  Wall  57 
Teriief,  Catedral,  Basin  164 
Tofedo,  Alcazar  del  Rey,  Gate  Ardi  25 

Castillo  de  S.  Servando  I8 

Catedral,  Choir  Round  49 

Catedral,  Coro  56 

Catedral,  Pulpit  136 

Catedral,  West  Facade  45 

Chapel  Apse  27 

Convento  de  Sa.  Isabel,  Brid\  Sham  Arcades  24 

Cupola  lo2 

Hospital  de  S.  Cruz  88 

Juan,  S.  de  la  Penitentia,  Grating  XI 

Maria,  Sa.,  la  Blanca  59 

Puerta  Nueva  de  Bisagra  22 

Puerta  del  Sol  21 

Street  31 

Town  View  15 


Pa  fen  cia,  Audiencia,  Salon  de  Cortes,  Ceiling/06 

Catedral,  Central  Tower  33 

Lonja  de  Seda  61 

Lonja  de  Seda  62 

Miguelete  44 

Palacio  del  Marques  de  dos  Aguas,  Facade  To 

Peasants'  Houses  72 

Torres  de  Cuarte  22 

Torres  de  Cuarte  24 
Zaiitora,  Casa  de  los  Momos  68 

Catedral,  South  Portal  76 
Zaragoza,  Casa  de  Zaporta,  Portal  87 

Engracia,  Sa.  37 

Iglesia  de  la  Magdalena  45 

Lonja  63 

Pablo,  S.,  Tankard  163 

Seo,  Ivory  Box  159 

Seo,  Cupola  lo3 

Seo,  Tower  33 

Torre  nueva  46 


Segovia,  AquaductO.    Late  Roman  Building 


Granada,  Alhambra 

Myrtle  Courtyard  (South  View),  Renaissance  Palace  of  Charles  V.  in  Background 


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Granada,  Alhambra 

Courtyard  with  Mosque  Facade.   Second  half  of  XIV.  century.    Coloured  Stucco,  Glazed  Tile 

Socle,  and  Stone  Floor 


/iv  P-'niiiishii  of  f.Jiior  TclHwanff,  Hagcn 


Granada,  Alhambia 

I  lall  near  Lions'  Court.    Last  quarter  of  XIV.  century 


Granada,  Alhambra 

Court  of  Justice,  and  Lions'  Court.    Second  half  of  XIV.  centur\' 


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Granada,  Alhambra 

Stucco  Ornamentation  of  Ambassador's  Chamber.    Last  quarter  of  XIV.  century 


Phol.  Hiiii.wi  y  Mciwt 


Granada,  Alhambra 

Capitals  and  Stucco  Decoration  in  1, ions'  Court.    Last  nuancr  ol  \l\'.  ici\tury 


Granada,  Alhambra 

Stucco  Decoration  of  the  I'ortai  of  the  Myrtle  Court.    XIV,  century 


I'I'Ct.  Htiiis.TX  Mcih-l 


Granada,  Alhambra 

Sisters'  Chamber.   Stalactites  and  Gypsum  Decoration.    XIV.  century 


10 


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Granada,  Alhambra 

The  Two  Sisters'  Cliamber.   Second  half  of  XIV.  century.    Walls  of  coloured  Stucco,  Stalactite  Ceiling 

Glazed  Tile  Socle.   Marble  Floor 


11 


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Cordoba,  La  Mezqiiira 

Sanctuary  <961  —76) 


12 


Cordoba,  La  Mezquita 

Capilla  Vidaviciosa.    Mudejare  Stucco  Decoration.    Glazed  Tile  Socle.    XIV.  century 


13 


Granada 

Remains  of  the  Moorish  Market  Hall.    Burnt  down  in  1843 


14 


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Alcala  de  Gnadaira  <Province  Sevilla),  El  Castillo 

Hevi  n  Stone.   Principally  built  XIV. —  XV.  century 


Toledo,  Castillo  de  S.  Servando 

Citadel  on  the  left  Bank  of  the  Tajo.    Built  for  Defence  of  the  Town  lying  on  the  right  Bank,  about  1 100 

Restored  in  Xlll.  century 


19 


Manzanares  el  Real,  Castillo 

iuilt  by  Juan  Guas.  Second  half  of  XV.  century 


Hausery  Menet 


Segovia,  Alcazar 

XI.  century.   Almost  entirely  restored  In  1352  —  58 


I 'hot.  IWr,  KLiijinj'uit 


20 


Avila 

Town  Fortification.   Granite.   End  of  XVI.  century 


Pfiot.  Beer,  Ktagenfiirl 


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Poblet  (Province  Tarragona),  EI  Monasterio 

Gothic  Fortification  Gate  <1 367  —  82).   The  Cloister  was  fortified  for  the  Defence  of  the  Kings'  Tombs 


21 


\rr.-i  ur.u- 


Toledo,  La  Puerta  del  Sol 

About  1100  (?>.    Mudejarc  Style.    BriA  Decoration 


22 


Valencia,  Torre  de  Cuarte 

Town  Gate  (1444-90) 


Toledo,  Puerta  Nueva  de  Bisagra 

Double  Town  Gate.   Exterior  Side,  built  1550,  restored  1575 


23 


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Town  Gate  (1536-52) 


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Cadiz,  Plaza  de  Isabel  U 

Classicistic  Townhall 


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Sevilla,  La  Plaza  Nueva  <S.  Fernando) 

On  the  Right  Townhall  <1527-64,  restored  1891) 


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31 


I'hci.  Liiccsi,' 


Toledo 

Alley.  Tower  of  Calheclr.il  in  Bad<grountl 


32 


Segovia 

Lower  Part  of  the  Town  near  St,  Millan,    Walls  of  Fortification  on  Iberian  Fundament  (XL  — XII.  centuiy) 


Segovia 

St.  Clement's  Suburb,    Typical  Castilian  Houses 


Pfiot.  B,\T,  Klaneiifuri 


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Burgos,  Catedral 

1221  -  1567.    Towers  by  Hans  of  Cologne  <1442  and  following  years) 


35 


Burgos,  Catedral 

Part  of  the  Furrier's  Gate  <Built  in  1516  by  Francis  of  Cologne.  Renaissance  Style) 


36 


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Plasencia,  Catedral 

Plateresque  North  Facade.    First  half  of  XVI.  century 


39 


/Vvv.  /  .uwitf 


Santiago  de  Compostela,  S.  Martin  Pinario 

Late  Plateresque  Church  Facade  (completed  1652.    Outside  Staircase  «ith  ChurA  Alteration  completed  1740) 


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Sevilla,  Catedral 

On  the  Site  of  the  Main  Mo5que  1402  -  1506.  Additional  Building  1530  — 75.  Belfr>  <Giralda>  originally  Minaret 


Zaragozd,  Igltsia  de  la  Virgfn  del  Pilar 

Begun  by  Francis  Herrera,  Jr.,  in  1681,-  altered  and  continued  1753.    Coloured  <AzuIejos>  Cupolas 


43 


Burgos,  Catedral 

Late  Gothic  Central  Tower  vt  itli  Plateresque  Ornamentation  <1540— 67> 


44 


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Phot.  Lacosts 


Salamanca,  Catedral  V  ieja 

Late  Roman  Column  Basilica.    Xll.  century 


49 


I'lol.  Moreno 


Toledo,  Catedral 
Choir  Round  with  double  Passage.  The  Cathedral  of  five  Naves  in  the  early  Gothic  Isle  de  France  Style 

<  1227 -1493) 


50 


Burgos,  Catedral,  Capilla  del  Condestable 

Late  Gothic  Chapel  erected  1482  (Plateresque  High  Ahar) 


51 


,  .-.  .l/.';.v„^ 


Burgos,  Catedrai 

Entrance  to  the  late  Gothic  Chapel  of  St.  Ann  (1477  —  88).   Tomb  of  Archdeacon  Diaz  <died  1492)  on  the  Right 


52 


Salamanca,  S.  Esteban 

Baroque  Sacristy  of  the  Dominican  Churdi.  XVII.  century 


53 


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Paular 

Cliurrlsucrcsque  Altars  <carved  Wood,  gilded  .iiid  painted)  of  the  Cloister  CluirA 


54 


Phot.  Garzon 


Granada,  Cartuja 

Sacristy  in  Churrigueresque  Style  (Marble  and  Stucco,  1727-64).    The  Cases  are  of  Cedar  Wood 
inlaid  with  Ivory,  Mother-of-pearl  and  Silver  (1730  —  64) 


55 


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Santiago  de  Compostela,  S.  Martin  Piiiario 

Gothic  Madonna  in  late  Baroque  polyclironiic  Altar  Worl</  Wood  Carvings 


56 


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Early  Renaissance  Building  with  Churrigueresque  Additions 


Sevilla,  Casci  <kl  .Xyuntaniifiiro 

Townhall.   F^lateresque  Style  (1527  —  64) 


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Nobleman's  House,-  late  Gothic 


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Salamanca 

Corner  Tower  of  tlie  Plateresque  Monterey  Ralace 


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Valencia,  Palacio  del  Marqiies  de  dos  Aguas 

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71 


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Classicistic  Baroque  Building  <1738-64> 
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Cemetery.  Classicistic  Style 


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Plateresque  Main  Portal  <1538) 


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Late  Gothic  Lions'  Court  w  ith  Mudejare  and  Renaissance  Elements 


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Santiago  de  Compostela,  Hospital  Real 

Late  Baroque  Court.  „Plate  Style  "  with  classicistic  Addition.   Begun  before  1769.    Completed  1798 


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Coffered  Renaissance  wooden  Ceiling  with  Mudejare  Reminiscences.    First  half  of  XVI.  century 


105 


Pastrana,  Castle  of  the  Dukes 

Coffered  Renaissance  Ceiling.  XVI.  century 


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P/Jot.  Hauser  y  Mcm'l 


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Pastrana,  Castle  of  the  Dukes 

Coffered  Ceiling.  XVI.  century 


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Late  Gothic  Choir  Pews.    End  of  XV.  century 


109 


Madrid,  Capilla  del  Obispo 

Renaissance  Door,  probably  after  a  Design  of  Giralte  <about  1550-60) 


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Renaissance  Choir  Pew 
XVI.  century 


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Early  Plateresque  Choir  Pew 
Beginning  of  XVI.  century 


113 


Madrid,  Conde  de  las  Almenas 


Cliair.  XVI.  century 


Madrid,  Private  Collection 

Renaissance  Secretary.  About  1600 


Madrid,  B.  Pcryoiiton 

Chair.  XVI.  century.   <Velvet  Seat  and  Bad(> 


Madrid,  Conde  de  Sclafani 

Chair.  Leather  Covering.   End  of  XVI.  century 


114 


Madrid,  Conde  de  las  Alineuds 

Chair.  VelvetCovering.RenaissanceEnibroidery 


Madrid,  Marqiies  de  Santiliana 

Chair.  XVI.  century 


Madrid,  Conde  de  las  Almenas 

Chair.    Beginning  of  XVI.  century 


Madrid,  B.  Per)'onton 

Chair,  inlaid  \sith  Mudeiarc  Decoration.  XVI.  century 


115 


Madrid,  Marques  de  Santillana 

Field  Table.    XVII.  century.    Inlaid  Work  with  engraved  and  gilded  Bronze 


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Madrid,  B,  Pcryontoii 

Renaissance  Double  Chest,- upon  it,  Gothic  Case 
covered  with  Leather  and  wrought  Iron  Garnishments 


Madrid,  S.  Belda 

Secretary.   XVi.  century 
Silver  Reliefs.   Covered  with  Velvet 


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Madrid,  Don  Pedro  Ruiz 

Gothic  Chest  covered  Nsith  Leather,  ornamented  >xith  wrought  Iron.    XV.  century 


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Madrid,  formerly  Srta.  Beatriz  Lafora 

Gothic  carved  Chest,  partly  gilded.   XV.  century 


117 


Madrid,  Don  Bernardo  Peryonton 

Gothic  carved  Clicst.  XV.  century 


I'fiot.  HausiT  y  Mcnci 


Madrid,  Don  Juan  Lafora 

Gothic  Chest  covered  >x  ith  Velvet  and  w'rought  Iron  Garnishments.  Cn.l  of  XV. 


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Plateresque  wooden  Secretary,  made  for  Charles  V.  XVI.  century 


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Huesca,  Catedral 

Plateresque  Chest  for  Sacristy  <Wood.  1556) 


123 


Madrid,  Don  Jose  Lazaro 

Renaissance  Secretary.  XVI.  century 


Madrid,  Don  Jose  Lazaro 

Small  Baroque  Secretary.  XVII.  century 


124 


Madrid,  Don  Jose  Lazaro 

Early  Plateresque  Secretary  with  late  Gothic,  Mudejare  and  Renaissance  Elements.    Beginning  of  XVI.  century 


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Formerly  Madrid,  Marques  de  Salamanca 

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Toledo,  Catedral 

Renaissance  Door  with  Knockers  (Bronze) 


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Sevilla,  Casa  de  Pilatos 

Plateresque  wrought  Iron  Window  Grating.  First  half  of  XVI.  century 


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PHoi,  Moii'no 


Toledo,  Catedral 

Renaissance  Pulpit.  Iron  and  Bronre  <1543 — 52) 


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Barcelona,  Don  Carlos  Vallin 

Gothic  Eagle,  wrought  Iron.  XV.  century 


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Madrid,  Don  R.  Sinobas 

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Madrid,  Don  R.  Sinobas 

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Pfior.  Hatiscr  j'  Mend 


Madrid,  Collection  of  Don  R.  Sinobas 

Snuffers  <1800— 30) 


141 


Phot.  Roig 


I'hci.  Poig 


Alcora  Porcelain.  PolyAromic  Plaquettc  and  Saucer 
XVIII.  century 


Alcora  Porcelain.  Polydiromic  Washing  Set 
XVIII.  century 


Madrid,  Don  Felix  Bois 


142 


Pfvi.  Koi] 
Alcora  Porcelain.  Pyramid  as  Table  Decoration 


/i?*-  -^-  ir^^^^,..!rTsjc->.^ 


Pt:ot.  Roig 
Alcora  Flower  Vase  with  Silver  Reflex 


Madrid,  Don  Felix  Bois 


Phot.  Roin 

Madrid,  Conde  de  las  Almenas 

Alcora  Ceramic.    Chemist's  Pot.  Blue  Decoration 


Pf<ot.  Poiji 

Barcelona,  Coleccion  Gi^iell 

Alcora  Dish  with  coloured  Decoration 


143 


Madrid,  Conde  de  las  Almenas 

Alcora  Porcelain.    Group  in  White,-  polydiromic  Dishes 


Pi'ot.  koii] 


Madrid,  Don  Felix  Bois 

Alcora  Porcelain.    Busts  and  polydiromic  Vases 


PI'ot.  Koig 


Madrid,  Don  Feli.x  Bois 

Alcora  Porcelain.    Basins  and  Flovccr  Pots 


I'I'OI.  Rciji 


144 


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146 


AJr.-r  ran  Jt'  I'm 


Formerly  London,  Art  Trade 

Back  of  the  Creveca'ur  Plate  (see  Page  145) 


After  van  dc  Put 

London,  South  Kensington  Museum 

Hispano^Moresqiie  Plate.   Beginning  of  XVI.  century 


After  van  dc  Put 

Sevres,  Musee  Ceramique 

Hispano-Moresque  Plate.  Decorations  of  Spirals  and  Lines  of  Writing 


^^^^^iBUgs, 


After  van  de  Put 

London,  South  Kensington  Museum 

Hispano^Moresque  Plate.   Small  Leaf  Decoration.    XV.  century 


147 


Talavera  Ceramic.    XVIII.  century.    Polydiromic  Shaving  Basins 


1  aLiver.i  Ceramic.    XVIII.  century.    Holy  Water  I'ots  witii  Arms  ol  diltcrcnt  ecclesiastical  Orders 

Madrid,  Don  Pbroii  PcUcimo 


148 


03 
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149 


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150 


Talavera  Ceramic.   Small  Dish.    End  of  XV'II.  century 


Talavera  Ceramic.    Plate.    W'U.  ceiitur) 

Madrid,  Collection  J.  Weissberger 


151 


Talavera  Ceramic.    Bowl.    About  1700 


Talavera  Ceramic.   Plate.    XV'll.  century 

Madrid,  Collection  J.  Weissberger 


152 


P/'Ci/.  Lacosft.' 


Sevilla,  Alcazar,  Patio  de  las  Doncellas 

Wall  Tiling.    Moorish  Star  Pattern 


153 


/•/iof.  llauicr  \  MciKl 


Granada,  Alhambra 

Moorish  Floor  Tiling  Work  with  white  Band  ^X^ork 
XIV.  centur\- 


^■T'-^iLiaa^ 


^L-^l 


Granada,  Alhambra 

Moorish  I 'loor  Tiling.    Star  Pattern.    XIV.  centur>- 


Phot.  G.  OstHaus 

Hagen,  Folkwang  Museum 

Seviliian  Floor  Tiling.    Pomegranate  Pattern 
XVI.  century  ' 


.^•' 

■w^mmm 

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'.''I'l'  .  . 

'.y 

P/ht .  G.  Oslfiaiis 

Granada,  Alhambra 

Tiling  Socle.  Star  Pattern  and  Band  Work.    XIV.  century 


154 


Gothic  Azulejo  with  Animal  Motive 
Third  cpiarter  of  XV.  century 


?fti»-^ 


Floor  Tiling  with  the  Family  Coat  of  Arms  of  Fernandez  de  Cordoba  and  Ziiiiiga 
Last  quarter  of  XV.  century 


^^?l 


Madrid,  Coleccion  Osma 

Star  Pattern,  Azulejo  in 
Cuerdaseca  Tedinic.    XV.  centurv 


P/Jor,  G.  Ost/iaiis 

Hagen,  Folkwang  Museum 

Sevillian  Renaissance  Armorial  Stone 


Mm 


^.WM 


Pfmt.  G.  Osthaus 

Hagen,  Folkwang  Museum 

Azulejo  with  Cock's  Foot  Pattern 
XV.  century 


Sevilla,  Museo  Provincial 

Sevillian  Renaissance  Floor  Tiling  Altar  F*ront,  XVI,  century 


155 


Phcu  Ai  \nt  Mils 


Barcelona,  Museo 

Gothic  Chest  covered  with  Leather.    XV.  century 


156 


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157 


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158 


Chair.    Leather  Covering 
XVI.  century 


Baroque  Chair  covered  with  Leather 
XVIL  century 


Chair  covered  with  Leather.   XVI.  century  Chair  covered  with  Leather.    XVI.  century 

Madrid,  Don  Jose  Weissberger 


159 


Aflfr  Bcrtiiii  v 


Aficr  H.-riiiii  V 


Zaragoza,  La  Seo 

Moorish  Ivory  Box  \x  ith  gilded  Silver  Mountings  ornamented  with  Filigree.    XiV.  century 


.\Jt,-t  Iklt.lUX 


Pamplona,  Catedral 

Moorish  Ivory  Chest  with  the  Name  of  Abdelmelics,  Son  of  Almansor  (1005),  with  secular  Scenes 
Cordovan  Work  under  Sassanian  iiitluence 


160 


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161 


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164 


AJtir  Bcrtjiix 


Teruel,  Catedral 

Basin,  wrought  in  Silver.   Plateresque  Style  with  Mudejare  Reminiscences.  First  half  of  XVI.  century 


165 


Barcelona,  Collection  Don  Patricio  Pasco 

Guipure  Lace 


Barcelona,  Collection  Don  Patricio  Pasco 

Catalan  Lace  after  Russian  Style 


Barcelona,  Dona  M.  Casanovas  de  Torrus 

Catalan  Altar  Cover  with  Guipure  Lace 


166 


»  *«i***(S3EJtln««  a*  «■.*«. 


London,  Spanish  Art  Galleries 

Woolen  Carpet,    With  geometrical  Pattern  and  white 
ornamental  Letters.    XV, —  XVI.  century 


Formerly  Munich,  Dr.  v.  Buerkel 

Woolen  Carpet,  Knotting  similar  to  Linen  Lattice  Work 
Geometrical  Pattern  on  interlaced  Ground,  XV,  century 


167 


London,  Spanish  Art  Galleries 

Woolen  Carpet  with  Armorial  SliicMs 
Middle  of  XV.  century 


London,  Spanish  Art  Galleries 

Woolen  Carpet.    Last  quarter  of  XV.  century.    With  arniori.il 
Bearings  and  figural  Scenes  along  the  Edges 


168 


Madrid,  Don  Jose  Weissberger 

Carpet  viith  Coat  of  Arms.    XVII.  century 


Phot.  Maliu 

Barcelona,  Museo 

Hispano- Arabic  Stuff.   Sassanian  Influence.  X.- XI.  century.    Green  on  Red 


169 


Vlwi.  M,i/,ii 


Madrid,  Don  Jose  Weissberger 

Silk  Stuff.    (Reil  Ground.    Animals  ycilovs .    Ornamentation  blaA.)    Granada.    XVI.  century 


170 


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172 


Pliot.  Matiti 


Mju-ii 


Pl-ot.  Maicii 


i  ror    Mau-it 


Barcelona,  Museo 

Catalan-Aragonian  woolen  Stuffs.    XV'I.  — XVII.  century 


173 


Madrid,  Don  Eduardo  do  Laiglcsia 

Coloured  printed  Velvet  witli  the  Virgin  <le  las  Atigustias.   (Valencia.    1740) 


174 


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175 


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176 


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UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 


University  of  California 

SOUTHERN  REGIONAL  LIBRARY  FACII,ITY 

405  Hilgard  Avenue,  Los  Angeles,  CA  90024-1388 

Return  this  material  to  the  library 

from  which  It  was  borrowed. 


.    3  1158  00618  3445 


■■*'< 


D    000  754  61 


1      2 


11 

Pliili 


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